"...and a new Flute Concerto by Aaron Jay Kernis (B1960). This four-movement affair, drawing on forms such as pavane and tarantella, and dazzlingly orchestrated, was a virtuoso vehicle for the soloist Marina Piccinini, whose intent, glittering musicianship - she played, in a golden dress, a golden flute - made it even more streamlined." (Kernis Flute Concerto, UK Premiere, London Philharmonic Orchestra)
THE SUNDAY TIMES, 19 February 2017

"Kernis, though, has composed a big and entertaining work, which has a lot to say. The music is intricately written and from its highly eclectic standpoint casts its eye over Baroque dance forms, Hollywood melodies and the classic rock of Jethro Tull. The flute part is a virtuoso challenge and, as at the premiere, Marina Piccinini was the expert soloist." (Kernis Flute Concerto, UK Premiere, London Phiharmonic Orchestra)
FINANCIAL TIMES, 13 February 2017

"No musical idea in its four-movements ever outstayed its welcome, this musical journey seemingly transformed itself before any one mood or tempo could settle. Its eclectic style, veering somewhere between an expressive lyricism (notable the Pavan), and a restless hedonism (TaranTulla) was underpinned by a largely conservative harmonic idiom, its opening Portrait also referencing the Second Viennese School. Soloist Marina Piccinini, played with assurance throughout and, in two technically demanding cadenzas, amply demonstrated why Kernis wrote this work specifically for her. ...in the rousing Finale, a "virtuoso romp" inspired by 70s rock legend Jethro Tull, Piccinini stormed through its challenges and brought off this UK premiere with aplomb." (Kernis Flute Concerto, UK Premiere, London Philharmonic Orchestra)
BACHTRACK, 13 February 2017

 "The opening movemet is equally ethereal with hints of Berg from the strings and Debussy in the flute part, played with panache and charisma by Marina Piccinini." (Kernis Flute Concerto, UK Premiere, London Philharmonic Orchestra)
CLASSICALSOURCE.COM, 13 February 2017

 
"This was written for flutist Marina Piccinini, and she played it with absolutely breathtaking virtuosity. Not only does Kernis understand fully her interpretative capabilities (she made sounds on the instrument I didn't know were possible, and certainly didn't know I would like), but she clearly relished the huge, expressive range the work allowed her to explore" (Kernis Flute Concerto, World Premiere, Detroit Symphony Orchestra)
AMERICAN RECORD GUIDE, May/June 2016 


"There is something deeply satisfying, awe inspiring, almost sacred in hearing a long-standing collaboration between two master musicians. The incomparable flutist Marina Piccinini and her no less talented husband, pianist Andreas Haefliger, offered up such an experience Thursday night at the Kennedy Center, thanks to Washington Performing Arts. When Piccinini plays the flute, you're left wondering how there can be so many ways for a human being to breathe. As for Haefliger, each keystroke is a poetic act. They share an intelligence, intensity of focus and on-nonsense demeanor that directs all energy toward the music's fullest realization."

THE WASHINGTON POST, February 12, 2016

 
"Piccinini is hugely original. ...her musical conviction and control are undisputable, her artistic vision and voice inspired. Her transcription of the Franck [Sonata in A] allowed for an often quite, tranquil and languid perspective, a suitable voice for flute in a piece originally conceived for violin. The duo's level of expressiveness was remarkable, both performers employing extreme dynamics that distinguished the works's many mood swings. ...The duo followed multiple curtain calls with an encore, an exquisite, hushed performance of their arrangement of "Morgen!" by Richard Strauss."

CLEVELANDCLASSICAL.COM, February 12, 2016

" Piccinini's solo part in particular was full of challenging leaps, passages that whizzed by at supersonic speed, and in the finale, strutting melodies where she was required to sing and play at the same time in the manner of Jethro Tull's flutist Ian Anderson....Piccinini's gleaming virtuosity, including the variety of articulations and colors she drew from the flute, was a source of wonder."

DETROIT FREE PRESS (World Premiere of Kernis Flute Concerto), January 22, 2016


"Piccinini and Haefliger performed with tangible and remarkable devotion and virtuosity throughout the monumental program." 
DALLAS OBSERVER, February 22, 2016 

"Wie sich ein Instrumentalkonzert aber im Idealfall anhört, war kürzlich im Wiener Konzerthaus zu erleben, als die famose italienische Flötistin Marina Piccinini und die Wiener Symphoniker unter Jukka-Pekka Saraste Carl Nielsens nicht allzu oft zu hörendes Flötenkonzert musizierten."

DIE PRESSE, JÄNNER 2015 

"Carl Nielsens Flötenkonzert von 1926 hingegen scheut Dissonanzen nicht und ist auch sonst ein abwechslungsreich und versiert konstruiertes Werk. Marina Piccinini zeichnete bogenförmige Phrasen und bewies sich als berührende, bannende Erzählerin."

STANDARD, JÄNNER 2015 

"She has a beautiful sound, tremendous control over her articulation, and an almost athletic agility on the instrument."

AMERICAN RECORD, July/August 2014

"Piccinini's intelligent musicality and command manage to reveal these familiar works in a new, thoughtpprovoking light that transcends the question of instrument."

CLASSICS TODAY

"Piccinini's is an impressive virtuosic achievement, underpinned by intelligent musicianship. On display is a great show of resourcefulness and respect for the score."
MUSICWEB INTERNATIONAL, October, 2012 

"The dynamic nuances and tonal coloring from Piccinini's flute lifted every turn and phrase."

TIME OUT HONG KONG,  January 2012 

"Marina Piccinini's flute playing is very special, her lyrical phrasing cool, exquisitely shaped, and with underlying delicate sensuality."

GRAMOPHONE